VIENNA -- This city presents a unique situation for foreign orchestras, especially those from outside of Europe. With so many famous composers having lived in the city -- Vivaldi, Haydn, Mozart, Beethoven, Schubert, Brahms, Bruckner, Mahler and more -- performing their music here is like unintentionally introducing someone to that person's best friend.

The Pittsburgh Symphony Orchestra conducted by Marek Janowski navigated these tricky waters in its debut appearance at the Konzert-haus last night. The rock was Brahms Symphony No. 4, and the hard place was his tricky Symphony No. 3 (which was premiered in Vienna in 1883).

But people can make too much of this -- especially the Viennese critics. Music is a living art and every performance has the opportunity to re-acquaint even the most stubborn listeners with something they already know well. Brahms' works are universal.

The PSO's stop in Vienna on its Pittsburgh 250 Ambassador Tour of Europe is arguably its most important one on tour. While the Concertgebouw in Amsterdam holds great prestige, the PSO is embarking on a new relationship with Vienna through its incoming music director, Manfred Honeck. Honeck spent half of his youth here and grew into musical maturity as a violist in the Vienna Philharmonic before becoming a conductor. As he rises in stature, so do the prospects for the PSO here.

Of course, it goes both ways, and Honeck was on hand to hear his new ensemble give an impressive first concert in the Konzerthaus, which opened in 1913. The PSO has previously performed in the more prestigious Musik- verein, the older hall just a block or so down the one of the Ringstrasses, and that is where Honeck led the Vienna Symphony last week.

It was a happy coincidence that Honeck would have an engagement that allowed him to be in the city to hear the PSO.

Actually, it was particularly good for him as he continues to become familiar with the musicians since it marked the first time he had ever heard them conducted by another. Honeck was visible sitting in a balcony with his wife, Christiane, and it's not much of a stretch to conclude the musicians were playing to impress him as much as the rest of the audience.

With seating for 1,900, the orchestral hall of the Konzerthaus is much larger than that of the Musikverein. Massive Corinthian columns circle the auditorium and wide stage, and a large pipe organ is hidden behind long, golden art-deco fern leaves, yet the acoustics are flexible.

It fit the potent sound of the PSO quite well while still allowing for intimate textures. Its middle and low range are especially full, but there is resonance throughout the entire tonal spectrum helped by the proliferation of gilded filigree everywhere.

Janowski went for a bold, grand reading in both symphonies. Without a soloist to take some of the limelight, this was the chance to fully showcase the PSO, and for the most part, he let them play out. The first sign of this came in the later appearances of the first theme of the Third Symphony, which arrived with extra vigor.

The woodwinds benefited most from the hall's acoustics. Clarinetist Michael Rusinek's playing here and in the second movement, and all of the winds in the third, had a halo about them like the sun viewed through a lens in a film. Yet all were able to be agile in their interpretation. Rusinek's effort in the first movement began with a full tone and then pulled back so fast it was as if a blanket had been thrown on him. William Caballero's horn solo in the third was almost too hushed, but still gorgeous, and Rhian Kenny's flute soared above the woodwind texture.

The finale brought electricity in the violins and presence from the violas and cellos, caught in the midrange river.

Brahms Four began a little subdued, but gained power quickly, and Janowski truly found his groove in the second movement. Here there was profundity in his building of the music, from the woodwind beginning to the cellos singing out of a new theme and through to the end.

The passacaglia finale was winning, too, and the audience was animated in its response.

With concerts like this, and a Viennese conductor in the fold, the PSO may be telling the Viennese about its beloved music more often.